Evolution and dynamics of Contemporary Nigerian Art 1

There are various influences that contributed to the development of modern Nigerian art. One of them was the establishment of departments of fine arts at institutions of higher learning. Yaba College of Technology began in 1947 (the first higher educational institution in Nigeria). Then came the Nigerian College of Arts and Sciences, established in 1951 with branches in Zaria, Enugu and Ibadan. Other schools include the University of Nigeria, Nsukka (1955), and the University of Ife (later Obafemi Awolowo University), Ile-Ife (1961). The Auchi Polytechnic (1963), The Polytechnic, Ibadan (1970), University of Benin (1970) and many more were established

THROUGH time and tide, Nigerian Art has been through various dynamics since the early 20th century, when its evolution began. Being an expression of human creativity and fertile imagination, Nigerian Art stimulates and provokes ideologies, interests and germane issues. Specifically, modern/contemporary Nigerian art evolves as a derivative of the old tradition.

Aina Onabolu, the first Nigerian academically trained artist (revered as Father of Nigerian Art) played a pivotal role and paved the way for other artists when he launched himself to the scene in the 1920s. His education at the Academie Julian in Paris and the Royal Academy of Art in London, where he obtained a certificate of proficiency in oil painting and fine art between 1920 and 1922, provided a rock-solid background for his take-off as a modern artist. Subsequently, his art practice in Lagos heralded the emergence of easel painting in Nigeria. It should be noted that prior to this time, the only kind of painting that took place in Nigeria was either cave painting or shrine painting. In both instances, the easel was never involved. Onabolu imbibed the tradition in Europe and introduced same to Nigeria through his regular practice and teaching. And thus began modern Nigerian art in 1923. Onabolu worked hard to convince the government to introduce art as a subject into the school curriculum. And that led to the beginning of art education and the spread of art as a subject (and later, profession) in Nigeria.

There are various influences that contributed to the development of modern Nigerian art. One of them was the establishment of departments of fine arts at institutions of higher learning. Yaba College of Technology began in 1947 (the first higher educational institution in Nigeria). Then came the Nigerian College of Arts and Sciences, established in 1951 with branches in Zaria, Enugu and Ibadan. Other schools include the University of Nigeria, Nsukka (1955), and the University of Ife (later Obafemi Awolowo University), Ile-Ife (1961). The Auchi Polytechnic (1963), The Polytechnic, Ibadan (1970), University of Benin (1970) and many more were established. Indeed, art education at the tertiary level contributed in no small measure to the dynamics, ideologies and multiplicity of styles and influences in Nigerian art. Each art school has a distinctive tradition that distinguishes it from the others.

Apart from art schools, art groups and movements have also influenced Nigerian art development, especially in terms of ideologies and philosophies. The first visual art movement in Nigeria, according to Prof. Osa Egonwa, is an Art Club at the Government College, Keffi, (today’s Nasarawa State) established in the late 1940s. By the early 1950s, the Keffi Art Club had diminished and eventually became non-existent. On 9th October 1958, the Zaria Art Society at the Nigerian College of Arts and Sciences was inaugurated. This became the first serious art movement in Nigeria. For the ideology of the members of the Society was woven around Natural Synthesis (the blending of indigenous Nigerian artistic traditions and western techniques and ideas to create a unique, distinct Nigerian art form), they were dubbed Zaria Rebels. These artists include Uche Okeke, Demas Nwoko, Bruce Onobrakpeya, Yusuf Grillo, Simon Okeke, Jimoh Akolo and others. Although one of their outstanding seniors at the same department, T. A. Fasuyi, had argued that they were not rebels. To him, they were artists “who were deficient in figures and sought a means to hide it.” In 1961, the art school at the University of Nigeria propounded the theory of Ulism. With this, the popular Uli (body decoration) in Igbo culture was translated into visual form, especially in painting, sculpture, ceramics, etc. The artists include Uche Okeke, Obiora Udechukwu, Tayo Adenaike, Olu Oguibe, Chika Okeke-Agulu and Marcia Kure.  In 1989, the Ona Movement emerged from the Obafemi Awolowo University, Ile-Ife, when some University of Ife-trained artists came together to translate existing motifs and patterns found on Yoruba carvings and leather works into paintings and other art forms. The artists who forged the new cause are Kunle Filani, Tola Wewe, Moyo Okediji, Bolaji Campbell and Tunde Nasiru. Many other artists joined later.  The same school, later in 1993, established the ‘Best of Ife,’ a group of outstanding graduates of Fine Arts from the University of Ife/Obafemi Awolowo University, Ile-Ife. This is more all-encompassing as it accommodated artists who were not willing to propagate or ventilate Onaism. With the launching of Mufu Onifade’s Araism painting technique in 1998, the Araism Movement, which accommodates more members to practise in the genre of the technique, was established by Mufu Onifade and launched in 2006. The disciples who joined Mufu Onifade at the maiden exhibition were Olaniyi Omojuwa, Tope Oguntuase, Abiola Mautin Akande, Dotun Popoola and Jonathan Ikpoza. The Movement has since grown its membership and has remained the most consistent art group in Nigeria as it has showcased the works of its members consistently from 2006 to date.

Apart from the above-mentioned movements, which are academically oriented, there have also been a series of art workshops/experiments that produced artists who later became notable in art practice. From 1947 to 1954, Oye Ekiti Christian Art Workshop was established by Irish missionary priests and Yoruba artists. Facilitated by Rev. Father Kevin Carroll, the prominent Yoruba artists who took part in the workshop were Lamidi Fakeye and George Bandele. Spurred by the Catholic church, the idea was to encourage native carvers to produce images of certain biblical personalities and represent them in the likeness of the natives. The natives themselves were expected to identify with these images in their likeness and thus be subjected to easy conversion to Christianity.

Osogbo Art Workshop had its maiden experiment in 1962. There had been the Mbari Art Club at the University of Ibadan with participants such as Wole Soyinka, Chinua Achebe, Ulli Beier, Christopher Okigbo, Christopher Kolade, Segun Olusola, Duro Ladipo and more. These artists engaged more in literary arts. Mbari means creativity in Igbo language, but Duro Ladipo borrowed the word and added Mbayo to give it a full Yoruba flavour and meaning. Mbari Mbayo means “If I see, I shall be joyous.” This was adopted to begin Duro Ladipo’s Mbari Mbayo Art Centre at Osogbo, which was where Duro Ladipo and Ulli Beier collaborated to create, rehearse and produce outstanding, award-winning plays. The same venue served as a ground for the Osogbo art experiments facilitated by Ulli Beier and Georgina Beier. Young people who were artisans of various fields were brought together to experiment with their natural instincts. The experiments, which went on to take place in 1962, 1963, 1964 and 1965, eventually produced international artists such as Taiwo Olaniyi (Twin Seven Seven), Muraina Oyelami, Jimoh Buraimoh, Rufus Ogundele, Jacob Lawrence, and others. They should be considered the luckiest artists in the history of workshop experiments in Nigeria, in that Ulli Beier, one of the facilitators of the experiments, rigorously promoted their art beyond the shores of Nigeria. This was how they became internationally renowned.

Between 1968 and the 1970s, the famous Ori Olokun art workshop experiments berthed at the University of Ife, Ile-Ife. Facilitated by Michael Crowder, the workshop delved into visual arts, performing arts and music. The visual art workshop produced such visual artists as Segun Aderu, Adeniji Adeyemi, Oluwole Olayemi, Labayo Ogundele, Segun Oguntobi, Raifu Oladepo, Florence Adeyemi, Wole Oleyemi and others. Later, Ori Olokun dissolved into the African Studies, which comprised the departments of fine art, dramatic arts, music and African languages.

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  The Court of Oba of Benin by Ben Enwonwu

  

  Ali Maigoro by Abayomi Barber, 1972

  

  Praise Singer by Demas Nwoko, 1961

  

  Aladeselu by Bruce Onobrakpeya, 1977

  * To be continued.